The heart of most darkrooms is the enlarger, an optical apparatus similar to a slide projector that projects the image of a negative down onto a base, and finely controls the focus, amount, and duration of light. On the base, a sheet of photographic paper, typically either Resin-coated or fibre-based paper, is exposed to the enlarged image from the negative.
During exposure, values in the image can be adjusted, most often by "dodging" (reducing the amount of light to a specific area of an image by selectively blocking light to it for part or all of the exposure time) and/or "burning" (giving additional exposure to specific area of an image by exposing only it while blocking light to the rest). After exposure, the photographic printing paper, which still appears blank, is ready to be processed.
Note that some photographers who use large format (usually defined as 4x5" and larger sized film) cameras do not necessarily need to enlarge an image, but are able to produce a same sized print by placing the negative directly on top of the paper, usually pressing it down tight with glass. This is known as a contact print.
The paper that has been exposed by enlargement or by contact exposure needs to then be processed in order to become a permanent, viewable print.
For black-and-white images, this process is comprised at a minimum of four chemical steps: (1) development of the print in a photographic developer; (2) stopping of image development by water rinse or use of special stop bath); (3) "fixing" (making the image permanent and removing its light-sensitivity) of the image in a photographic fixer; then (4) washing of the print in order to remove the processing chemicals. This is followed by drying the print. There are a variety of other, additional steps a photographer may take, such as toning.
It is possible to simulate the effects mentioned above by using image editing programs such as Adobe Photoshop or GIMP.
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